Anna

When a film runs on the pretence that a woman is beautiful, therefore she cannot be anything other than beautiful, there’s a serious problem

Anna is a disturbingly unwanted feature, that seems to force itself like water down a pipe, where the pipe’s capacity is less than half of the water’s volume.

Russian spy Anna (Sasha Luss) escapes domestic violence to become a Russian spy, with her morals making her question what is truly right or wrong.

When a film runs on the pretence that a woman is beautiful, therefore she cannot be anything other than beautiful, there’s a serious problem; and that isn’t helped by the already tired concept of an unassumed female spy who happens to be simply incredible at her job.

The story is worn and boring, and genuinely fails to offer anything remotely interesting from its predictable plotting, reinforcing age old stereotypes and action sequences, again, with a lack of originality.

All director Luc Besson needed to do was to watch 2017’s Atomic Blonde, and understand he was going about the entire piece, in entirely the wrong way, leaving Anna outdated and needless even before its release.

Slowly, Hollywood seems to be moving away from features like this, but clearly not quickly enough.